Page 104 - Ekonomija i Biznis_juli-avgust 2016.indd

FРIУLБMРИКА Gjorgji Janevski
From the summer cinema offer I would
like to suggest the movie Nice Guys of
the director and screenplay writer Shane
Black. Careless entertainment and smiles,
refreshing lemonade for the hot days.
Nice Guys
The successful and quality
Hollywood recipes are pre-
served in a huge, however
well-organized freezer, and
they are often handy for the started his career in his youth with the
cooks who know what they are looking
for. If the menu is supplemented by sev-
eral well-combined fresh products, and
if all of this is creatively served on the
silver sheet, we get a tasty, however pri-
marily easily digestible summer stew.
And the popcorns do not stick to the
teeth.
In terms of the modern Hollywood
production, sterilized by the politi-
cal correctness and surrounded by the
one-dimensionality of the degenerated
spectacles in three dimensions, the
nostalgic recollection to some periods
in the past and film formulas can be re-
freshing sometimes.
“Nice Guys” is located in Los Angeles,
at the end of the transgressive seven-
ties, smothered in smog and corrupted
to the core. The case of the missing
minor porn star unites the seemingly
disparate Holland March (Ryan Gosling)
and Jackson Healy (Russell Crowe) in a
detective investigation that begins in
the darkest corners of the criminal un-
derground, and it finds the answers in
the halls of the high political elites.
The director and screenplay writer
Shane Black in this movie stepped on
104 July-August 2016
The author is
a cultural worker
the well-known and already treaded
path. Imbued by the crime literature
of authors such as Raymond Chandler,
Dashiell Hammett, and James Ellroy, he
screenplay for “Lethal Weapon” (1987)
and he immediately became one of the
most expensive Hollywood screenplay
writers. Most of his blockbusters com-
bine elements of action and thriller,
spiced with black humor and they are
in the tradition of the so called “buddy
film”, a genre where two contrasting/
contrary (according to their charac-
ter, race, origin, methods) characters
through their common troubles, de-
velop friendship and mutual respect.
In this case, the successfulness of the
hybrid genre formula depends on the
comic delivery of the two Hollywood
stars and it seems that the entire mov-
ie is constructed on their interaction.
Russell Crowe has excess weight and
a strong dose of personal irony in the
interpretation, while Ryan Gosling, in
the role of a single father and clumsy
detective charlatan offers a more ner-
vous, physically expressed burlesque
option. The two actors create creative
complicity and they seem to have great
fun during the process. Therefore, one
can assume that the director left them
enough space for improvisation. What
is an added value, an x-factor in this